NARS Foundation, Brooklyn
Oct 6 – November 1, 2023
The Gynandromorph, oil on panel, 46 x 59 in, 2023
While they often draw directly from ‘nature’, Sarah Davidson’s works diffract distinctions between embodied self and other through a queer ecological lens: critters and space collapse into one another, suggesting a permeable web. Both the eye and the mind work towards the known--animals, plants, brush marks, lines--but are caught in a space of undoing. A question floats among the forms: who’s seeing who, and how?
Fingery Eyes references a term coined by writer Eva Hayward as a means through which species perceive each other via sensuous manifesting; “a queer reading of how making sense and sensual meaning are produced through determinable and permeable species boundaries.”
In this new series of paintings and drawings, the intricate linework of scientific illustration tangles with uncanny biomorphic form. Meshes of hatching reveal glimpses into a jumble of images, and eyes peer out from within. The works weave together observational drawing and an abstract vocabulary of shapes to evoke bodies (human and otherwise) and suggest an ambiguous interiority. In the world of these images, looking and other forms of sensing disintegrate into each other, revealing something porous, strange and seductive.
The painting The Gynandromorph seems caught in the process of transformation; goopy oil stick melts into thinly rendered linework, and flora and fauna waver in and out of perception, while a central blob either emerges from or is digested by a mesh-like web of red-brown. To the upper right a plant growing through the sidewalk outside the artist's studio is rendered in delicate black; elsewhere recognizable lily pads, clover, and insects peek out from within the fray. The image reveals itself to be composed of equal parts local observation and poetic license. The edges of the panel waver slightly, like a leaf or a sheet of paper, a plein air study with a life of its own.
Sarah Davidson (they/them, b.1989, Canada) lives and works in New York, NY. Recent solo exhibitions include NARS Foundation, Brooklyn, NY (2023), Wil Aballe Art Projects, Vancouver, Canada (2022), Feuilleton, Los Angeles, CA (2021), and Erin Stump Projects, Toronto, Canada (2019). Recent group exhibitions include NADA NY, Wil Aballe Art Projects, New York, NY (2023), PASSE-PARTOUT, Luxembourg Institute for Artistic Research, New York, NY (2023), BLOOMDOOMROOM, the plumb, Toronto, Canada (2021), Deep Vision, Cassandra Cassandra, Toronto, Canada (2020), SUPER, NATURAL, Unit 17, Vancouver, Canada (2019) and many more. Their work is included in the collections of the Royal Bank of Canada and Burnaby Art Gallery, Burnaby, Canada. They received an MFA from the University of Guelph (2019), and a BFA from Emily Carr University of Art & Design (2015).
Fingery Eyes references a term coined by writer Eva Hayward as a means through which species perceive each other via sensuous manifesting; “a queer reading of how making sense and sensual meaning are produced through determinable and permeable species boundaries.”
In this new series of paintings and drawings, the intricate linework of scientific illustration tangles with uncanny biomorphic form. Meshes of hatching reveal glimpses into a jumble of images, and eyes peer out from within. The works weave together observational drawing and an abstract vocabulary of shapes to evoke bodies (human and otherwise) and suggest an ambiguous interiority. In the world of these images, looking and other forms of sensing disintegrate into each other, revealing something porous, strange and seductive.
The painting The Gynandromorph seems caught in the process of transformation; goopy oil stick melts into thinly rendered linework, and flora and fauna waver in and out of perception, while a central blob either emerges from or is digested by a mesh-like web of red-brown. To the upper right a plant growing through the sidewalk outside the artist's studio is rendered in delicate black; elsewhere recognizable lily pads, clover, and insects peek out from within the fray. The image reveals itself to be composed of equal parts local observation and poetic license. The edges of the panel waver slightly, like a leaf or a sheet of paper, a plein air study with a life of its own.
Sarah Davidson (they/them, b.1989, Canada) lives and works in New York, NY. Recent solo exhibitions include NARS Foundation, Brooklyn, NY (2023), Wil Aballe Art Projects, Vancouver, Canada (2022), Feuilleton, Los Angeles, CA (2021), and Erin Stump Projects, Toronto, Canada (2019). Recent group exhibitions include NADA NY, Wil Aballe Art Projects, New York, NY (2023), PASSE-PARTOUT, Luxembourg Institute for Artistic Research, New York, NY (2023), BLOOMDOOMROOM, the plumb, Toronto, Canada (2021), Deep Vision, Cassandra Cassandra, Toronto, Canada (2020), SUPER, NATURAL, Unit 17, Vancouver, Canada (2019) and many more. Their work is included in the collections of the Royal Bank of Canada and Burnaby Art Gallery, Burnaby, Canada. They received an MFA from the University of Guelph (2019), and a BFA from Emily Carr University of Art & Design (2015).
Harry, oil on panel, 6 x 8.5, 2023
Drop In, watercolour, ink, pencil crayon and pastel on paper, mounted on dibond, 53.5 x 65 in, 2022
Bent Branch, oil on panel, 35 x 46.5 in, 2023
Morpho Blue, oil on panel, 32.25 x 45 in, 2023
The Gynandromorph, oil on panel, 46 x 59 in, 2023
detail:
untitled, oil on panel, 8.5 x 12, 2023
untitled, oil on panel, 8.5 x 12, 2023
Humans Are Like Lichens, watercolour, ink, pencil crayon and pastel on paper, mounted on dibond, 53 x 65 in, 2022
Wil Aballe Art Projects,Vancouver
Jan 8 - Feb 19, 2022
Exhibition Essay by Lauren Lavery
In Swamp Sight, Davidson weaves a world of uncanny connections around the act of looking. Frog, moth, and human eyeballs all appear to regard the viewer and each other. Drawn partly from observation, these works depart from natural history illustration to swim towards a strange new form of camouflage. A question floats among the forms: who’s seeing who, and how?
Sarah Davidson (they/she, b. 1989, Ottawa) lives and works in Tkaronto/Toronto, Canada. They have exhibited their work at Feuilleton (Los Angeles), Cassandra Cassandra (Toronto), Erin Stump Projects (Toronto), Unit 17 (Vancouver), The Power Plant (Toronto), Little Sister (Toronto), Birch Contemporary (Toronto), The New Gallery (Calgary), and Audain Gallery (Vancouver), among others. They were a finalist in the 2018 RBC Canadian Painting Competition, and are the recipient of awards and residencies including the Canada Council for the Arts Research and Creation Grant (2021), The Banff Centre’s Late Winter BAiR (2020), and AiR Sandnes residency in Sandnes, Norway (2016). They hold a BFA from Emily Carr University of Art & Design (2015) and an MFA from the University of Guelph (2019).
Boundary Waters, watercolour, ink, graphite and pencil crayon on paper, 8.75 x 12 in, 2020
Thaw, watercolour, ink and pencil crayon on paper, 15.75 x 12 in, 2021
Wave, watercolour, ink, and pencil crayon on paper, 8.5 x 11.75 in, 2020
Amphibian Feeling, watercolour, ink, pencil crayon and pastel on paper, 43.5 x 58.5 in, 2021
Look Left, watercolour, ink, and pencil crayon on paper, 10 x 14 in, 2021
Blob Bulb, watercolour and pencil crayon on paper, 14 x 19 in, 2021
The Organism and its Surroundings, watercolour, ink, pencil crayon and pastel on pape, 63.5 x 47 in, 2021
Fell, watercolour, ink, and pencil crayon on paper, 11.75 x 17.5 in, 2021
Leaf Tender, watercolour, ink, and pencil crayon on paper, 7.5 x 11.5 in, 2021
Blue Drop, watercolour, ink, pencil crayon and pastel on paper, 63 x 50 in, 2021
Dizziness, watercolour, ink, and pencil crayon on paper, 17.5 x 12 in, 2021
Burn, watercolour, ink, and pencil crayon on paper, 18 x 12 in, 2021
Saccade, watercolour, ink, and pencil crayon on paper, 14 x 19.5 in, 2020
Mothweb, watercolour, ink, pencil crayon and pastel on paper, 37.5 x 42.5 in, 2021
With the support of:
Feuilleton, Los Angeles
Feb 1 - 27, 2021
Webbed, watercolour, ink, and pencil crayon on paper, 12 x 18 in, 2020
Brindled, watercolour, ink, and pencil crayon on paper, 20.75 x 13.75 in, 2020
Watery World, watercolour, ink, and pencil crayon on paper, 11.75 x 17.75 in, 2021
Moth Eye, watercolour, ink, and pencil crayon on paper, 12 x 9 in, 2020
One Look, watercolour, ink, and pencil crayon on paper, 8.75 x 12 in, 2020
Feuilleton is pleased to present a solo exhibition of the Canadian, Toronto-based artist Sarah Davidson.
Of this body of work, Sarah Davidson writes:
This work was all created in the past 8 months, and I was thinking of the drawings as having a relationship to plein air observational drawing, in scale and medium, and also in process. They're all drawn at least partly from observation (also partly from historical sources, partly from intuition). The background blobs and web-like forms are drawn without any reference, and the recognizable flora and fauna is rendered partly from life. The recognizable forms in my drawings are familiar (as in they’re not exotic frogs, lily pads, etc, they’re species I might actually see around). The style owes a lot to historical ‘natural’ history drawing. For instance Maria Sibylla Merian’s drawings of the life cycles of insects. Although those evoke some ambivalence in me: they’re both beautiful and also grotesque. They’re a careful and close look at delicate lives and also a symptom of the colonial exploits of a western nation.
I like for space to function strangely in my drawings. They’re meant to do something other than what that kind of scientific observational drawing does, to be porous, to suggest connections between disparate forms. There’s something queer in that, which I’m trying to work through, which is maybe inherent in the non-specific biomorphism of the forms, and the idea of stressing connections between elements rather than distinctions between them. Maybe just in wondering who defines what is ‘natural’, and who that serves.
Of this body of work, Sarah Davidson writes:
This work was all created in the past 8 months, and I was thinking of the drawings as having a relationship to plein air observational drawing, in scale and medium, and also in process. They're all drawn at least partly from observation (also partly from historical sources, partly from intuition). The background blobs and web-like forms are drawn without any reference, and the recognizable flora and fauna is rendered partly from life. The recognizable forms in my drawings are familiar (as in they’re not exotic frogs, lily pads, etc, they’re species I might actually see around). The style owes a lot to historical ‘natural’ history drawing. For instance Maria Sibylla Merian’s drawings of the life cycles of insects. Although those evoke some ambivalence in me: they’re both beautiful and also grotesque. They’re a careful and close look at delicate lives and also a symptom of the colonial exploits of a western nation.
I like for space to function strangely in my drawings. They’re meant to do something other than what that kind of scientific observational drawing does, to be porous, to suggest connections between disparate forms. There’s something queer in that, which I’m trying to work through, which is maybe inherent in the non-specific biomorphism of the forms, and the idea of stressing connections between elements rather than distinctions between them. Maybe just in wondering who defines what is ‘natural’, and who that serves.
I
spent ten years working as a guide for an outdoor school, (which I
still do, technically, I just haven't worked during the pandemic), and
my interest in thinking about 'nature' and observation comes out of
that, in my downtime I would fill notebooks with drawings from my
surroundings, and in a more abstract sense, because I had to teach
ecology and natural history classes, I started to question the subtext
of the lessons I was passing on, and my own authority on either of those
subjects. I’ve been thinking about observation for a while, and so I
made these drawings thinking it would be productively uncanny if they
looked back at their viewers. Moths in particular were interesting to
me, because their markings mimic eyes. I guess these drawings are about
wondering: who is seeing who, and how?
Sarah Davidson (b. 1989, Ottawa) lives and works in Toronto, Canada. She has exhibited her work at Cassandra Cassandra (Toronto), Erin Stump Projects (Toronto), Unit 17 (Vancouver), The Power Plant (Toronto), Little Sister (Toronto), Birch Contemporary (Toronto), The New Gallery (Calgary), and Audain Gallery (Vancouver). She was a finalist in the 2018 RBC Canadian Painting Competition, and is the recipient of awards and residencies including the Banff Centre's Late Winter BAiR (2020), the Toronto Arts Council's Emerging Visual Artist Grant (2020), and AiR Sandnes residency in Sandnes, Norway (2016). She holds a BFA from Emily Carr University of Art & Design (2015) and an MFA from the University of Guelph (2019).
Sarah Davidson (b. 1989, Ottawa) lives and works in Toronto, Canada. She has exhibited her work at Cassandra Cassandra (Toronto), Erin Stump Projects (Toronto), Unit 17 (Vancouver), The Power Plant (Toronto), Little Sister (Toronto), Birch Contemporary (Toronto), The New Gallery (Calgary), and Audain Gallery (Vancouver). She was a finalist in the 2018 RBC Canadian Painting Competition, and is the recipient of awards and residencies including the Banff Centre's Late Winter BAiR (2020), the Toronto Arts Council's Emerging Visual Artist Grant (2020), and AiR Sandnes residency in Sandnes, Norway (2016). She holds a BFA from Emily Carr University of Art & Design (2015) and an MFA from the University of Guelph (2019).
Carolina Benitez, Sarah Davidson, Ryan Grover, HaeAhn Kwon, Colin Miner, Emmanuel Osahor, Dana Slijboom, Alex Tedlie-Stursberg, Soft Turns, SUM, Susannah van der Zaag, Laurence Veri, and Allanah Vokes. Curated by Daniel Griffin Hunt & Emma Welch
The Plumb, Toronto
March 12 - April 8, 2021
BLOOMDOOMROOM is an exhibition about flowering, fruiting, ecological fall-out, late stage environmental capitalism and art at the end of days.
Exhibition text available here
Diapause, watercolour, ink, graphite and pencil crayon on paper, 8.75 x 12 in, 2020
Fixation, watercolour, ink, and pencil crayon on paper, 8.5 x 12.25 in, 2021
Moss Perch, watercolour, ink, graphite and pencil crayon on paper, 8.75 x 12 in, 2020
Split, watercolour, ink, and pencil crayon on paper, 8.5 x 8 in, 2020
Blurred, watercolour, ink, and pencil crayon on paper, 9 x 11.75 in, 2021
Deep Vision
Sarah Davidson and David Ruben Piqtoukun
Cassandra Cassandra, Toronto
September 13 - October 18, 2020
Sarah Davidson and David Ruben Piqtoukun
Cassandra Cassandra, Toronto
September 13 - October 18, 2020
Flap, Blink, watercolour, ink, and pencil crayon on paper, 12 x 17.75 in, 2020
Horror Vacui, watercolour, ink, and pencil crayon on paper, 9.75 x 15.75 in, 2020
Wolfworm, watercolour, ink, pencil crayon, gouache, pencil and pastel on paper, 33 x 49 in, 2020
Kenophobia, watercolour and ink on panel, 21 x 30 in, 2020
Eyes in the deep, nature is looking back.
We are not separated from what surrounds us, we are tied together. A web.
Sarah Davidson draws and paints after close observation of nature. Biomorphic forms ranging from foliage to frog eyes, insects, spiders, worms, fungus, and microbes populate her compositions. Questioning the idea of objectivity, she makes reference to the attempt to describe and catalogue the ‘natural’ world. With form reflecting worlds within worlds, her works investigate the interconnection between bodies, nature, and the environment.
Drops turn into fluid lines, in constant motion, changing as water.
Flora and fauna may or may not provide a bountiful supply, and one must adapt.
Sculptor and printmaker David Ruben Piqtoukun makes works that incorporate diverse materials such as stone, antler, bone, wood, and steel. By collecting traditional stories from his parents and elders, he absorbed the Inuit culture that he was removed from as a child and took an immense leap into Inuit mythology. The incorporation of new and old stories into his stonework conveys his interpretation and acknowledgement of his Inuit ancestry.
If carving operates a transformation of the material, the images created are the product of the spiritual shaping of a vision.
Forms tend to abstraction, in search of harmony. It is about life.
Sarah Davidson (b. 1989, Ottawa, ON) has made a living guiding expeditions for an outdoor school for the past ten years, and while she often draws directly from her more than human surroundings, she has become increasingly aware that drawing from observation is a fraught gesture. In her art she aims to ask the question: who is seeing who, and how? Sarah Davidson has exhibited across Canada at venues including Erin Stump Projects (Toronto, ON), Unit 17
We are not separated from what surrounds us, we are tied together. A web.
Sarah Davidson draws and paints after close observation of nature. Biomorphic forms ranging from foliage to frog eyes, insects, spiders, worms, fungus, and microbes populate her compositions. Questioning the idea of objectivity, she makes reference to the attempt to describe and catalogue the ‘natural’ world. With form reflecting worlds within worlds, her works investigate the interconnection between bodies, nature, and the environment.
Drops turn into fluid lines, in constant motion, changing as water.
Flora and fauna may or may not provide a bountiful supply, and one must adapt.
Sculptor and printmaker David Ruben Piqtoukun makes works that incorporate diverse materials such as stone, antler, bone, wood, and steel. By collecting traditional stories from his parents and elders, he absorbed the Inuit culture that he was removed from as a child and took an immense leap into Inuit mythology. The incorporation of new and old stories into his stonework conveys his interpretation and acknowledgement of his Inuit ancestry.
If carving operates a transformation of the material, the images created are the product of the spiritual shaping of a vision.
Forms tend to abstraction, in search of harmony. It is about life.
Sarah Davidson (b. 1989, Ottawa, ON) has made a living guiding expeditions for an outdoor school for the past ten years, and while she often draws directly from her more than human surroundings, she has become increasingly aware that drawing from observation is a fraught gesture. In her art she aims to ask the question: who is seeing who, and how? Sarah Davidson has exhibited across Canada at venues including Erin Stump Projects (Toronto, ON), Unit 17
(Vancouver, BC), The Power Plant (Toronto, ON), Little Sister
(Toronto, ON), Birch Contemporary (Toronto, ON), The New Gallery
(Calgary, AB), Chernoff Fine Art (Vancouver, BC) and Audain Gallery
(Vancouver, BC). She was a finalist in the 2018 RBC Canadian Painting
Competition, and is the recipient of several other awards and
residencies including a residency at the Banff Centre (Banff, AB), a
SSHRC Graduate Scholarship (2018), and AiR Sandnes residency in Sandnes,
Norway (2016). She received her BFA from Emily Carr University in 2015
and her MFA from the University of Guelph in 2019.
David Ruben Piqtoukun (b. 1950, Paulatuk, Northwest Territories) grew up in a small nomadic group, hunting and fishing for subsistence along the Arctic coastline. At about age 5, he was taken from his family and forced into Canada’s residential school system. The violence of the ensuing erasure of language and traditions provoked an identity crisis. In 1972, he ended up in Vancouver, British Columbia, where his brother Abraham Apakark Anghik Ruben introduced him to stone carving. David Ruben Piqtoukun quickly gained acclaim worldwide and has exhibited extensively in Canada and internationally. He has shown at the National Gallery of Canada (Ottawa, ON), the Vancouver Art Gallery (Vancouver, BC), the Winnipeg Art Gallery (Winnipeg, MB), the McCord Museum (Montreal, QC), the Musée National des Beaux-Arts de Quebec (Quebec City, QC), the Art Gallery of Ontario, Koffler Gallery (Toronto, ON), McMichael Gallery (Kleinburg, ON), the Staatliches Museum für Völkerkunde (Munich, Germany), the Institute of American Indian Arts (Santa Fe, NM), the Museum of Arts and Design (New York, NY), Galleria d’Arte Moderna e Contemporanea (Verona, Italy), the National Gallery of Zimbabwe (Harare, Zimbabwe), the National Museum Institute (New Delhi, India), the National Museum of Art (Osaka, Japan). He recently participated in NIRIN, 22nd Biennale of Sydney (Sydney, Australia). His work is included in the collections of the Art Gallery of Ontario (Toronto, ON), the McCord Museum (Montreal, QC), the National Gallery of Canada (Ottawa, ON), the De Young Museum (San Francisco, CA), the Smithsonian (Washington, DC), the Greenland Museum (Nuuk, Greenland), and UNESCO (Paris, France) among others.
David Ruben Piqtoukun (b. 1950, Paulatuk, Northwest Territories) grew up in a small nomadic group, hunting and fishing for subsistence along the Arctic coastline. At about age 5, he was taken from his family and forced into Canada’s residential school system. The violence of the ensuing erasure of language and traditions provoked an identity crisis. In 1972, he ended up in Vancouver, British Columbia, where his brother Abraham Apakark Anghik Ruben introduced him to stone carving. David Ruben Piqtoukun quickly gained acclaim worldwide and has exhibited extensively in Canada and internationally. He has shown at the National Gallery of Canada (Ottawa, ON), the Vancouver Art Gallery (Vancouver, BC), the Winnipeg Art Gallery (Winnipeg, MB), the McCord Museum (Montreal, QC), the Musée National des Beaux-Arts de Quebec (Quebec City, QC), the Art Gallery of Ontario, Koffler Gallery (Toronto, ON), McMichael Gallery (Kleinburg, ON), the Staatliches Museum für Völkerkunde (Munich, Germany), the Institute of American Indian Arts (Santa Fe, NM), the Museum of Arts and Design (New York, NY), Galleria d’Arte Moderna e Contemporanea (Verona, Italy), the National Gallery of Zimbabwe (Harare, Zimbabwe), the National Museum Institute (New Delhi, India), the National Museum of Art (Osaka, Japan). He recently participated in NIRIN, 22nd Biennale of Sydney (Sydney, Australia). His work is included in the collections of the Art Gallery of Ontario (Toronto, ON), the McCord Museum (Montreal, QC), the National Gallery of Canada (Ottawa, ON), the De Young Museum (San Francisco, CA), the Smithsonian (Washington, DC), the Greenland Museum (Nuuk, Greenland), and UNESCO (Paris, France) among others.
Loud Floweroil on panel
65 x 47.5 in
2024
detail:
Nocturne
oil on panel
57.5 x 46.5 in
2023
details:
The Gynandromorph
oil on panel
46 x 59 in
2023
details:
The Snuffler
oil on panel
31.5 x 47 in
2023
Bent Branch
oil on panel
35 x 46.5 in
2023
Morpho Blue
oil on panel
32.25 x 45 in
2023
details:
Drop In
watercolour, ink, pencil crayon and pastel on paper
53.5 x 65 in
2022
Vanishing Present
watercolour, ink and pencil crayon on paper
12 x 9 in
2022
Metamorphoses
watercolour, ink and pencil crayon on paper
12.75 x 10 in
2022
Humans Are Like Lichens
watercolour, ink, pencil crayon and pastel on paper
53 x 65 in
2022
Swamp Walk
acrylic on panel
8 x 11 feet
2022
installed at Evergreen Brickworks, Toronto
This mural ‘Swamp Walk’ by Toronto-based artist Sarah Davidson weaves together timeless and familiar features of the Brick Works’s local ecosystem and ecology. Here, the milk snake meanders under the wing of a swallowtail butterfly as the eyes of the grey tree frog observe the snapping turtle—all while remaining somewhat obscured in their tangled web of natural forms. Their interconnectedness makes a vital and complex reference to nature’s intricate network and prompts the question: who’s seeing who, and how?
Davidson works primarily between drawing and painting, and often borrows directly from nature through a queer ecological lens.
‘Swamp Walk’ is a collaboration between Evergreen’s Outdoor Education and Public Art programs.
photos: Ibrahim Abusitta
Watery World
watercolour, ink, and pencil crayon on paper
11.75 x 17.75 in
2021
Amphibian Feeling
watercolour, ink, pencil crayon and pastel on paper
43.5 x 58.5 in
2021
Leaf Tender
watercolour, ink, and pencil crayon on paper
7.5 x 11.5 in
2021
Fell
watercolour, ink, and pencil crayon on paper
11.75 x 17.5 in
2021
Dizziness
watercolour, ink, and pencil crayon on paper
17.5 x 12 in
2021
Wolfworm
watercolour, ink, pencil crayon, gouache, pencil and pastel on paper
33 x 49 in
2020
detail:
Looking Through
watercolour, ink, pencil crayon, gouache, pencil and pastel on paper
34.5 x 49 in
2020
both sides:
Trickledown
watercolour, ink, pencil crayon, gouache, pencil and pastel on paper
33 x 49 in
2020
detail:
Nature as Event
watercolour, pencil crayon, pencil and pastel on paper
34.5 x 40 in
2020
Frog Eyes
pencil and watercolour on paper
37 x 50 in
2020
detail:
Lived Along Lines
ink, watercolour, pastel, pencil and pencil crayon on paper
68 x 46 in
2019
details:
Lens Critters
ink, watercolour, pastel, pencil and pencil crayon on paper
23 x 34 in
2019
Plant Blindness
watercolour, ink, pastel, pencil and pencil crayon on paper
38 x 50 in
2019
details:
The Dappled World
watercolour, pastel, pencil and pencil crayon on paper
50 x 72 in
2019
Leggy Confusion
watercolour, ink, pastel, flashe, pencil and pencil crayon on paper
22 x 25 in
2019
The Life of Forms
Watercolour, ink, pastel and pencil crayon on Arches hotpress paper
50 x 75 in
2018
details:
Subterranean Marks
watercolour, ink, pastel, pencil crayon and pencil on paper
dimensions variable
2018
details:
installation:
Cherries for Hilma
Watercolour, ink, pastel, pencil crayon and pencil on paper
47 x 33 in
2018
details:
Spiderplant
watercolour, ink, pastel and pencil crayon on panel
45 x 60 in
2018
details:
hide and seek
ink, watercolour, flashe, graphite, pencil crayon on paper
46 x 51 in
2018
the garden at night
watercolour, ink, flashe, and pencil crayon on paper
50 x 75 in
2017
details:
install:
the secret life of plants
ink, watercolour, flashe, graphite, pencil crayon on paper
37.5 x 69 in
2017
details:
wonderland
ink, watercolour, pencil crayon, and oil pastel on paper
50 x 55 in
2017
details:
scrap your body
ink, watercolour, oil stick, flashe and graphite on paper
41 x 48 in
2017
detail:
blue marbled
ink, watercolour, flashe, oil, pencil crayon, oil pastel, chalk and graphite on paper
43 x 54 in
2017
details:
tentacular thinking
ink, watercolour, oil stick, flashe and graphite on paper
50 x 37 in
2016
detail:
The Menace
ink, watercolour and graphite on paper
56 x 43 in
2016
Red Colour
ink, watercolour, pencil, silkscreen, collage, Arches hot press paper, foamcore
28 x 36 in
2016
detail:
Blue Colour
ink, watercolour, pencil, silkscreen, collage, Arches hot press paper, foamcore
28 x 36 in
2016
detail:
Yellow Colour
ink, watercolour, pencil, silkscreen, collage, Arches hot press paper, foamcore
28 x 36 in
2016
detail:
Diapause
Purchase through Art Metropole
Book of drawings by Sarah Davidson, with writing by Emily Moriarty and design by Brennan Kelly
Full colour digital print, perfect bound, 82 pages, 8.875 x 11.75 in
First printing (2022), edition of 100.
ISBN 987-0-9880566-0-2
———
for the trees
for the trees
Drawings—Sarah Davidson
Book Design—Erica Wilk
you can’t see the forest
Essay—Brynn McNab
Risograph printed & published by Moniker Press
Perfect bound with fabric book tape binding.
52 pages—Edition of 150
Vancouver, BC—2017